This essay analyzes Japan's otaku subculture using Hirokazu Miyazaki's (2006) definition of hope as a "reorientation of knowledge." Erosion of postwar social systems has tended to instill a sense of hopelessness among many Japanese youth. Hopelessness manifests as two analogous kinds of refusal: individual social withdrawal and recourse to solipsistic neonationalist ideology. Previous analyses of otaku have demonstrated its connections with these two reactions. Here, I interrogate otaku culture's relationship to neonationalism by investigating its interaction with the xenophobic online subculture known as the netto uyoku. Characterizing both subcultures as discursive practices, I argue that the similarity between netto uyoku and otaku is not one of identity but one of method. Netto uyoku discourse serves to perform an imagined nationalist persona. While otaku elements can be incorporated into netto uyoku performance, other net users invoke the otaku faculty of parody to highlight the constructed nature of netto uyoku identity through ironic recontextualization. This application of otaku principles enables a description of otaku culture as a form of social knowledge, reoriented here to defuse the climate of hopelessness purveyed by the netto uyoku. In the final section, I offer examples of subcultural knowledge being applied to national and international issues in order to indicate its further potential as a source of enabling hope for Japanese youth.

This article analyzes depictions of work in postmillennial Japanese media, particularly anime and manga, in order to theorize the function of imaginative responses to the social dislocations of neoliberalism. Critical studies of precarity in Japanese popular culture have tended to treat depictions of work as direct representations of actual socioeconomic conditions, overlooking the affective, experiential dimensions of mediated work images and their potential for imagining social relations beyond imposed precarity. The article explores this neglected potential by focusing on the anime and manga trope of isekai (other-world), which depicts life and work in a fantastic environment. These depictions are compared with analogues in live-action films and television during the period of Japan's neoliberalization. Invoking philosophical concepts of social imagination and drawing on autonomist theory for inspiration regarding the visualization of postcapitalist sociality, analysis will demonstrate how their imaginative responses can produce visions of collectivity amenable to postcapitalist projects without explicitly political content. The article hopes to draw out latent capacities within superficially escapist media forms and offer a possible counternarrative to pessimistic discourses about popular culture.